The backgrounds of Byzantine icons often negotiate landscapes which, in the case of Dimitris Foutris, become autonomous in order to consolidate the relationship of the human subject with its wider environment. To what extent can Byzantine icons have the same spiritual intent without the presence of saints? Are there landscapes that negotiate an intermediary stance between hell and heaven? Is the oasis, as it is presented through the Christian tradition, a legitimate place of pleasure or, beyond appearances, is it just another part of the desert? The landscape here, as an anthropocentric reading, reflects the emotional and spiritual world of man.

The End Of It All, Before The End, After The End, End End End-Part I (From The Mountain Series), 2011
Casein paint on plywood, 115X80 cm, (private collection)

The Black Lake- People, The world, The Public, Politics (From The Mountain Series), 2012
Casein paint on plywood, 115X80 cm

As Above So Below- Part 2 (From The Mountain Series), 2012

Casein paint on plywood, 80X125 cm

Between Dying And Birth (From The Mountain Series), 2010

Pencil and acrylic on paper, 40X30 cm

Untitled (From The Mountain Series), 2010

Pencil and acrylic on rice paper, 30X40 cm

Untitled (From The Mountain Series), 2010

Pencil and acrylic on rice paper, 40X30 cm

Landscape 33 (From The Mountain Series), 2010

Pencil and acrylic on rice paper, 52X52 cm